Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques最新文献

{"title":"Curating Expanded Cinema in Canada: Discourse, Space, Contexts of Display","authors":"C. Ramsay","doi":"10.3138/CJFS.27.1.2017-0011","DOIUrl":"https://doi.org/10.3138/CJFS.27.1.2017-0011","url":null,"abstract":"","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124720592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Battle of the Somme: What the Audience Saw","authors":"Seth Feldman","doi":"10.3138/CJFS.27.2.2018-0015","DOIUrl":"https://doi.org/10.3138/CJFS.27.2.2018-0015","url":null,"abstract":"Résumé:La Bataille de la Somme (The Battle of the Somme — Geoffrey Malins et John Benjamin — plus communément « JB » — McDowell, 1916) est un film produit par un comité, tourné par des caméramans envoyés au front pour recueillir diverses images, et monté de la manière la plus dépouillée possible par un monteur surnommé « le boucher » par les caméramans du milieu cinématographique. Le très vaste public de La Bataille de la Somme en a néanmoins fait le film documentaire le plus regardé à avoir été réalisé au cours de la Grande Guerre. Tourné aux premiers jours de la bataille de la Somme, il est sorti en salle alors que les combats, qui allaient durer quatre mois et demi, faisaient toujours rage. De l’avis de David Williams, il s’agissait là du « premier événement médiatique de l’histoire ». D’autres auteurs l’ont évoqué comme étant le premier documentaire. Que ces affirmations soient justes ou non, La Bataille de la Somme a donné naissance à un authentique public du documentaire, selon l’auteur. L’étude proposée n’est cependant pas une analyse classique d’audience — un travail déjà réalisé —, mais bien le compte rendu d’une analyse visant à déterminer comment le public a littéralement vu ce film, des repères qui sont moins apparents aujourd’hui qu’ils ne l’étaient en 1916.Abstract:Battle of the Somme (Geoffrey Malins and John Benjamin—or “JB,” as he is more commonly known—McDowell, 1916) was produced by a committee, shot by camera operators sent to the front to gather miscellaneous footage, and edited as straightforwardly as possible by an editor known to camera operators throughout the film world as “the butcher.” Nevertheless, the enormous audiences for the film made Battle of the Somme the most widely watched non-fiction film made during the Great War. Shot in the opening days of the Somme, it was released while the four-and-a-half-month-long battle was still being fought. This made it, as David Williams claims, “the first media event in history.” Other writers have cited it as the first documentary. Whether or not this is true, this article will argue that Battle of the Somme generated a genuine documentary audience. However, the article is not a study of spectatorship in a conventional way. That work has already been done. Rather, the purpose is to look at the way audiences literally saw the film, cues that are less than apparent today than they were in 1916.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131151775","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Territorial Expanded Cinema in the Neo-Liberal City: Curating Multiscreen Environments in Yonge-Dundas Square and Quartier Des Spectacles","authors":"Zach Melzer","doi":"10.3138/CJFS.27.1.2017-0017","DOIUrl":"https://doi.org/10.3138/CJFS.27.1.2017-0017","url":null,"abstract":"Résumé:L'auteur s'intéresse au Yonge-Dundas Square de Toronto et au Quartier des spectacles de Montréal à titre d'exemples contemporains de cinéma élargi—ce qu'il appelle le cinéma élargi territorial. Redéveloppés par des partenariats public-privé et assujettis à leurs pouvoirs réglementaires, les deux créatures municipales qui gèrent ces espaces ont codifié des environnements multimédia et multi-écrans inspirés du néolibéralisme. Alors que le conseil d'administration du Yonge-Dundas Square s'est donné pour mission de mettre en lumière la dimension commerciale de la ville, le partenarial du Quartier des spectacles s'est employé à promouvoir un urbanisme axé sur la célébration « de la culture et des arts ». Ces différences dans les mandats se manifestent non seulement dans le contenu affiché, mais également dans l'organisation des écrans et des espaces, ainsi que dans la sorte des technologies employées. Contrairement aux discours nationaliste et internationaliste qui charpentent le cinéma élargi dans d'autres contextes, le cinéma élargi territorial se caractérise par la privatisation des espaces urbains.Abstract:This article analyzes Toronto's Yonge-Dundas Square and Montreal's Quartier des spectacles as contemporary examples of expanded cinema—what the author refers to as territorial expanded cinema. Similarly redeveloped and governed by the regulatory powers of Public-Private Partnerships, the two city-ordained organizations that manage these sites have codified multimedia and multiscreen environments through the rubrics of the neo-liberal city. Whereas the Yonge-Dundas Square Board of Management has aimed to highlight a commercial-centric version of the city, Le Partenariat du Quartier des spectacles has been striving to promote an urbanism focused on a celebration of \"Culture and the Arts.\" Such differences in mandates manifest not only in the contents being displayed in each locale, but also in the organization of the screens and spaces, as well as the kinds of technologies being employed. In contrast to the nationalist and inter-nationalist discourses that shape expanded cinemas in other locales, territorial expanded cinema is categorized by the privatization of urban spaces.","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128616281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Borderland Films: American Cinema, Mexico, and Canada During the Progressive Era by Dominique Brégent-Heald (review)","authors":"K. Roberts","doi":"10.3138/cjfs.27.1.br4","DOIUrl":"https://doi.org/10.3138/cjfs.27.1.br4","url":null,"abstract":"","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129996059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Visions of Avant-Garde Film: Polish Cinematic Experiments from Expressionism to Constructivism by Kamila Kuc (review)","authors":"Tadas Bugnevicius","doi":"10.3138/CJFS.27.1.BR2","DOIUrl":"https://doi.org/10.3138/CJFS.27.1.BR2","url":null,"abstract":"","PeriodicalId":181025,"journal":{"name":"Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125272813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}